Politics of the ‘creative industries’ discourse and its variants

The existing academic debate on creative industries can be summarised as ‘Trojan horse or Rorschach blot’: creative industries working as a neoliberal discourse or producing different effects depending on local context. Arguing that these are two sides of the same coin, this article looks closely at the discourse’s depoliticising and encompassing forces and their interplay on the discourse’s intersection to the broader new economy narrative. The article’s focus is South Korean variants of creative industries discourse. First, the country’s ‘content industries’ discourse served as a Trojan horse for the depoliticising narrative of knowledge economy while boosting the cultural sector discursively and financially. Second, ‘creative economy’ has very recently emerged as the current conservative government’s master economic narrative. This discourse allows the government’s neoliberal economic policies to be further justified while making cultural policy unable to persuasively claim that creativity belongs in the culture’s domain.     

Italy’s unification and its discontents: Giovanni Verga’s Cos’è il Re?

ABSTRACT

The article, ‘Italy’s Unification and its Discontents: Verga’s Cos’è il Re, focuses on the mental confusion of the protagonist, Cosimo, which becomes symptomatic of the southern rural masses’ disenfranchisement from the unification process. Verga’s political disillusion with the new state, for which he fought, comes to the fore, underlining how the Savoy kingdom’s constitution was no guarantee of a real improvement for the rural masses. Verga’s story contrasts the Savoy king, whose power is limited by the constitution, with the Bourbon Monarch’s Corpus Mysticum, as described by Ernest Kantorowicz, whose power is absolute, like that of Jesus Christ. The story denounces, then, the paradox that the Bourbon monarch, in his paternalistic governance, was better for the impoverished rural masses than the constitutional Savoy king. Moreover, Italy’s unification under the Savoy sovereign further developed a national discourse that systematically racialized Southerners because of their subaltern position within the nation.     

Creativity in the ‘Torrid’ zone: policy,creative industries and the vision for Northern Australia

Creative industries are recognised as a key driver of economic growth in both developed and developing nations. In addition to recognising the importance of creative industries, the Australian government has recently renewed a focus on the vast northern tropical area of this island nation as key to future economic and population growth, via the release of a white paper focussed on development options for the north. However, the white paper contains virtually no references to creative industries. In addition, Australia’s most recent national cultural policy, Creative Australia, has after only a few years slipped into obscurity and despite major resources being invested towards its development. Drawing on the almost 100 years of policy documentation relevant to Northern Australia, this paper highlights the limited attention paid to arts, culture and creative industries, and considers this relative policy vacuum in the context of global developments in creative industries.     

The dynamics of global visual effects and games development industries: lessons for Australia’s creative industries development policy

The paper critiques the focus of creative industries policy on capability development of small and medium sized firms and the provision of regional incentives. It analyses factors affecting the competitiveness and sustainability of the games development industry and visual effects suppliers to feature films. Interviews with participants in these industries highlight the need for policy instruments to take into consideration the structure and organization of global markets and the power of lead multinational corporations. We show that although forms of economic governance in these industries may allow sustainable value capture, they are interrupted by bottlenecks in which ferocious competition among suppliers is confronted by comparatively little competition among the lead firms. We argue that current approaches to creative industries policy aimed at building self-sustaining creative industries are unlikely to be sufficient because of the globalized nature of the industries. Rather, we argue that a more profitable approach is likely to require supporting diversification of the industries as ‘feeders’ into other areas of the economy.     

Transformation,job creation and subsidies to creative industries: the case of South Africa’s film and television sector

Many governments have tried to stimulate economic growth via policy in the creative industries. South Africa is no different but additionally has an overarching aim of achieving social and labour market ‘transformation’ to move away from the legacy of the apartheid era. The effectiveness of incentives provided to the film and television sector in South Africa are considered in terms of their stated objectives of job creation, skills and knowledge transfer, and the attraction of foreign direct investment. Informed by empirical analysis of incentive scheme data and supplemented by elite interviews with key informants, some specific policy revisions are proposed.     

Rethinking historiography and ethnography: Surrealism’s intellectual legacy

ABSTRACT

Taking up Maurice Blanchot’s perceptive claim that “Surrealism remains always of our time”, the essay traces the importance of Surrealism for rethinking the methods of historiography (for Walter Benjamin) and ethnography (for James Clifford) in ways that allow us to appreciate the significance of Surrealism’s intellectual legacy. In his early essays on Surrealism and the monumental, unfinished work, The Arcades Project, Benjamin developed a new historical methodology, what I term surrealist historiography, that sought to uncover the latent dimensions of culture, obscured by the dazzling sheen of progress embedded within conventional historical narrative. If Benjamin found in Surrealism a way to overcome the limitations of a Rankean historicism, the point of departure for Clifford’s essay, “On Ethnographic Surrealism” is the crisis of ethnographic authority precipitated by a postcolonial critique of the discipline of anthropology. Clifford’s aim in this essay is thus to provide a provocative reassessment of Surrealism’s self-reflexive ethnographic spirit and what it might contribute to a refashioning of ethnographic practice as a polyvocal assemblage that holds in tension disparate material realities and aesthetic principles. Surrealism’s intellectual legacy thus lies, as Michel Foucault has claimed, in its path-breaking interdisciplinarity, which is why it continues to be, for Blancot and others, “a brilliant obsession”.     

Impact of property rights and ownership on the development of Warsaw’s contemporary city centre

The paper raises the problem of the impact of unregulated property and ownership rights on the development of the city centre. It applies to Warsaw as a post-socialist city that has recorded fast economic growth since the country’s communist regime collapsed in 1989. We follow the course of changes in the city centre of Warsaw, in particular, those pertaining to land use and high-rise buildings for office use as investments that encounter difficulties under the unregulated status of construction sites and lack of clear regulations for private property restitution that was nationalized under socialism. To describe and explain the difficulties, we provide data showing the location of large companies and office buildings, and examples of conflicts as well. Unregulated ownership issues and property rights weigh on Warsaw’s city centre, now vastly dispersing and gravitating westwards, and prevent the district from rational and effective development.     

‘Queen’s Day – TV’s Day’: the British monarchy and the media industries

In contemporary British history, Elizabeth II’s coronation in 1953 is typically imagined and narrated as the moment where television was anchored as a national cultural form. In addition, it is well documented by commentators and scholars that during preparation for the coronation, politicians and the palace had reservations that live television might fracture the carefully constructed mystique of monarchy. This article revisits the coronation to consider why and how television was perceived as a watershed moment for both monarchy and television, and what difference this has made to royal representations since. Using the work of Michael Warner, it argues that the mediated intimacies facilitated by television as a new cultural form encouraged viewers to enact participatory and active processes of spectatorship as royal ‘publics’, who are brought into being through being addressed. That is, it was the act of emphasising the centrality of television’s role in the coronation, and in reinforcing the apparent distance between monarchy and (popular) media, that these ‘meanings’ of the coronation were constructed in the public and historical imaginary.     

The creative industries: conflict or collaboration? An analysis of the perspectives from which policymakers,art organizations and creative organizations in the creative industries are acting

This paper compares and contrasts the instruments and values formulated in the creative industries policies of three peripheral municipalities of between 150,000 and 220,000 inhabitants in the Netherlands (Groningen, Arnhem and Eindhoven) with the needs of the creative industries itself. The needs of the creative industries have been empirically researched by conducting an online survey (n = 556) and twelve in-depth interviews with professionals from different types of organizations in the creative industries. In this study, the theoretical framework of Boltanski, Thévenot and Chiapello is used in the analysis of policy documents, the outcomes of the online survey, and the in-depth interviews in order to uncover differences and similarities in perspectives from which art organizations, creative organizations and policymakers are acting in the creative industries.     

‘Innovation is a dirty word’: contesting innovation in the creative industries

Innovation is a term that is used and defined in many different ways. This holds for innovation in general, but particularly for innovation in the creative industries. In cultural policy and in academic literature, the creative industries are often addressed in the relation to their innovative capacities, yet a shared conceptualisation of innovation in this sector is lacking. This paper seeks to develop a conceptualisation of innovation in the creative industries based on 43 interviews with creative workers about their views and practices. Results indicate that creative workers articulate numerous views on innovation, with three main approaches: innovation as something completely new, innovation as a contribution to society and innovation as a continuous recombination of new and existing elements, with the latter being most prevalent in the creative industries and considered a central (by-product of the) process of creative production that is highly contextual to specific localities and fields.     

Keynes’s legacy: an intellectual’s influence reflected in arts policy

As Western governments re‐examine the economic policies of John Maynard Keynes to solve a global financial crisis believed to be almost as severe as the Great Depression, this article examines his influence on arts policy. The article articulates and examines the central assumptions that underlie the arm’s length policy model, such as Keynes’s preference for semi‐autonomous non‐governmental bodies, and locates the sources of those assumptions and ideas in Keynes’s political philosophy and his involvement in higher education. Knowing this history enables policymakers and arts administrators to recognize how contemporary policy still reflects this thinking.     

Critical geographies and geography’s creative re/turn: poetics and practices for new disciplinary spaces

We are two feminist geographers working as practitioners and researchers in creative geographies and the discipline’s creative re/turn. Human geographers interested in new representational and non-representational methods and methodologies are, as we explore in this article, increasingly turning to artistic and creative modes of expression, including (amongst others) literary and visual arts, in which we are both involved. For some time now, we have been curious about what we experience as a lack of expressly politicized critical interrogations of the discipline’s creative re/turn and a shortage of expressly critical and politicized creative outputs. In this article, then, we explore geography’s embrace of creative practices as research methods and as means of developing outputs but, more specifically, we ask about where and how decolonizing, feminist, anti-racist, and/or queer voices, practices, and theorizations might fit within the creative re/turn. Using two different creative geographic works (one a book of poetry, the other a curation project), we trouble what we conclude may be ongoing (perhaps unconsciously) masculinist, often White and colonial, perhaps overly heteronormative, modes of geographic inquiry and practice within geography’s creative re/turn. In this context, we reflexively consider our own creative practices as ones that may offer examples to open new critical spaces and modes of representation for creative geographers.     

Migration and regional inequality: changing characteristics of China’s economic inequality

Scholars studying economic inequality in China have maintained that regional inequality and economic divergence across provinces have steadily increased over the past 30 years. New studies have shown that this trend is a statistical aberration; calculations show that instead of quickly and sharply rising, regional inequality has actually decreased, and most recently, remained stable. Our study suggests that China’s unique migratory regime is crucial to understanding these findings. We conduct a counterfactual simulation to demonstrate how migration and remittances have mitigated income inequality across provinces in order to show that without these processes, we would have seen more of a rise in interprovincial income inequality. We conclude by arguing that inequality in China is still increasing, but it is changing and becoming less place-based. As regional inequality decreases, there are signs that point to the increasing importance of interpersonal inequality.     

Resource extraction and national anxieties: China’s economic presence in Mongolia

Abstract

Over the last two decades and particularly in the last 10 years, Chinese investment in Mongolia has skyrocketed, with the vast majority of the country’s exports now flowing to China. As foreign investment has grown in Mongolia, particularly in the mining sector, apprehension circulates about the extension and meaning of increased Chinese power. We argue that contemporary anxieties about China’s economic influence in Mongolia go beyond recent and contemporary political economic issues and are tied to memories of the Qing Dynasty. Controversies surrounding Mongolia’s flagship mine, the Oyu Tolgoi copper–gold mine in South Gobi province, demonstrate how even non-Chinese foreign mining operations are intertwined with Mongolia’s past and future relationships with China. Rather than acting simply as resource nationalists, the people and government of Mongolia often see contemporary Chinese economic power through a historical lens, with fears of declining sovereignty and becoming Chinese through control over land and resources. This paper draws on fieldwork conducted by the authors in Mongolia from 2009 to 2015 and contributes to discussions about fears of Chinese influence, extractive industry development, and resource nationalism in Mongolia.     

A Blessing in Disguise: Nanxun and China’s Small Town Heritage

This article analyzes Nanxun, a lower Yangzi delta town known for its silk products, as a case study of China’s development and underdevelopment. In the late nineteenth and early twentieth centuries, a booming silk trade linked Nanxun to the global market and made it an extraordinarily wealthy town, yet little was achieved in terms of urban development. Scholars have attributed the underdevelopment of Nanxun to economic factors, and perceived it as entirely undesirable. This article argues that a largely overlooked cause of Nanxun’s underdevelopment was the conformist culture of Nanxun’s ruling elite. The merchants who created the wealth of the town by their very natures preferred to create a safe and secluded zone in which the familiarity of their living environment could be preserved and the comfort of a traditional lifestyle assured. The underdevelopment of Nanxun turned out, however, not to be completely negative. The town did not sustain its status as a trading center, nor develop into a major city, but its arrested development preserved much of its original layout and, moreover, its culture. From a cultural and environmental point of view, Nanxun’s underdevelopment may have proved to be more valuable than if the town had become an indistinguishable industrial site.     

East German pragmatism,China’s policy of differentiation,and Soviet miscalculation: Hermann Matern’s 1961 trip to China revisited

This paper shows that Hermann Matern’s 1961 visit to China was mainly a trade mission whose connection with political affairs was minor and who had only an indirect influence on the Berlin Crisis. It further demonstrates that there was no Sino-East German rapprochement during Matern’s visit, but quite the contrary –relations between the two countries actually deteriorated, resulting in the East German delegation failing to achieve their goals. Yet, Soviet miscalculation and misunderstanding of China’s policy led them to substantially increase their economic assistance to East Germany, so as to ‘win their German comrades back’ to the Soviet side.